Mahler Symphony 7

As a diehard Mahlerite, I have to say I thought I knew the Seventh fairly well, but Inbal manages to make this familiar (to me) work seem utterly new and strange while holding it firmly together (which too often isn't the case in performances of this problem-child of the Mahler family). And he does this without seeming to impose his personality on the music. This is the only Seventh on disc I know of that can match the Bernstein versions (Sony and DG). And it's better-recorded than either of them. Hey Denon–when are you going to reissue all of Inbal's Mahler recordings in a boxed set, as DG did for Bernstein? This is a missed opportunity.

If one sought a musical manifestation of all the painful expe-riences and tragic failures of European history in the early 20th century, it would be impossible to overlook the symphonies of Gustav Mahler. Here, there is no harmony where discord is more fitting. Here, life cries out, with all the conflict and joy it proffers humanity. In their performances, Kirill Petrenko and the Bayerisches Staatsorchester have enabled these experiences to resonate in remarkable fashion. What better way to launch the Bayerische Staatsoper’s new label than with this outstanding live concert recording. - Nikolaus Bachler (General Manager, Bayerische Staatsoper)

David Zinman’s Mahler has been warmly received in many quarters. He is proceeding through the cycle chronologically and the Fifth will not disappoint those who like their Mahler sane and lucid. Sound quality remains near state-of-the-art even if there seems to be too much hall ambience for absolute clarity this time. The orchestra has been carefully drilled – individual members are named in the attractive, copiously annotated booklet – but it is idle to pretend that Zürich can offer either the characterful solo playing or the corporate weight of Chicago, Vienna or Berlin. That the back inlay and the track-listing misrepresent the work’s tripartite structure matters little.

David Zinman's audiophile series of Gustav Mahler's symphonies for RCA has garnered much critical praise, due mainly to the coherence of his musical interpretations and the marvelous clarity of the playing by the Zurich Tonhalle Orchestra. Both qualities are vital to understanding Mahler, whose intensely varied music is never easily pinned down, and often just as easily muddled. The Symphony No. 7 in E minor, unofficially nicknamed "The Song of the Night," is one of Mahler's most complicated works because it contains a sprawling symphonic dirge, a haunted yet charmingly pastoral nocturne, a grim danse macabre, a humorously amorous serenade, and a rondo finale based on nineteenth century musical clichés, all designed to showcase the many moods and mood swings of Mahler, perhaps the most complicated composer of the twentieth century.

The LPO Live label already boasts one Eighth – Tennstedt, live in the same venue in 1991 – worthy of a place at the summit of the Eighth’s discography. Now it has a second.

Claudio Abbado's new version of Mahler's 7th (his Chicago recording was made over 20 years ago) is the product of a May 2001 concert in Berlin. It may not displace such outstanding 7ths as those by Bernstein, Gielen, Tilson Thomas, and Kondrashin, but Mahlerians will want it for its extraordinary orchestral playing and for the way Abbado captures the otherworldly qualities of this massive work. Even with his slightly faster than usual tempos, Abbado lends the huge first movement march a sense of foreboding and excels in fully projecting the weird, offbeat flavor of the Scherzo and the strangeness of the stream-of-consciousness night music movements.

Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.

David Zinman and the Tonhalle Orchestra Zurich have received extraordinary praise for their polished recordings of Gustav Mahler's symphonies, and kudos will surely greet the appearance of the Symphony No. 8 in E flat major, the most ambitious work of the cycle and the greatest challenge to a conductor's ability to marshal several ensembles into one immense entity. Hallmarks of Zinman's earlier Mahler recordings and RCA's superb engineering are the crispness and clarity of details, and the ensemble sound is exquisitely balanced between the chamber groupings within sections and the towering orchestral climaxes.

For its final concert of the 2021–22 season and Osmo Vänskä’s last as artistic director, the Minnesota Orchestra chose to present Mahler’s mammoth Eighth Symphony, which calls for one of the largest complement of performers in the history of music, a symbol of the communitarian spirit of collective cultural, social and religious-philosophical endeavour in what has been referred to as a ‘Mass for the Masses’. Mahler’s Eighth Symphony, unlike his others, reveals no contrary despairing voice.

For the third installment in Adam Fischer's Mahler cycle on CAvi-music, he leads the Düsseldorf Symphony in a straightforward and polished presentation of the Symphony No. 1 in D major, assembled from several concert recordings in February 2017. This 2018 release offers a nearly flawless version of one of Mahler's most popular symphonies, and Fischer prudently avoids any anachronistic associations with the symphony's earlier form as a symphonic poem.